If you have always considered yourself to be among the many listeners who believed Finding Nemo to be a score of ambient cohesion rather than tight melodic narrative, then you'll find that characteristic to be exaggerated in Finding Dory. Those who believed that the melancholy themes of Finding Nemo represented larger issues of loss were clearly mistaken, because Newman supplies Finding Dory with arguably less effective thematic alternatives in the sequel. In fact, some listeners probably won't hear any thematic continuity at all, the de-facto primary idea in "One Year Later," "Everything About You," and "Fish Who Wander" barely registering in its usual, rhythmically stilted Newman progressions. A descending phrase of foreboding exists in several cues but leaves no lasting impression, either. Singular, more engaging motifs for Dory's most important moments are the score's highlights, including the middle portions of "...Shells," a pivotal scene in the character's discovery of her parents. Without significant motific structures with which to remember the score, Finding Dory instead relies upon Newman's unique instrumentation to provide its overarching character, and, in some ways, this atmosphere is enough alone to provide a solid listening experience. The composer maintains his trademark collection of otherworldly specialty instruments for use in almost every cue, supplementing an orchestra with a variety of mainly percussion and woodwind-related soloists that once again augment the underwater environment with appropriately unusual tones. Above of all of these, of course, is Newman's own role on the piano, which supplies some of the most tender of moments, as expected. Two song placements, neither written by Newman, are included, highlighted by Australian singer Sia Furler's dreamy rendition of Nat King Cole's "Unforgettable," the most remarkable and possibly the best single track on the entire soundtrack. Its instrumental backing matches the tone of Newman's score perfectly. The score itself has some outwardly quirky moments, including giggling and squeak-toy sound effects at its very outset and conclusion on album, as well as radio effects in "Rebecca Darling" and some wacky singing in "No Walls." In the end, Newman's score is proficient and shows occasional flashes of really great material, culminating in some wilder style at the end of "Three Hearts (End Title)" that would have been great to hear an hour earlier. But the score, ironically, has too many forgettable moments along its stream-of-consciousness path to compete with its more heartfelt predecessor. Perhaps that meandering airiness is appropriate for Dory herself, but apart from the film, this music offers no cohesive narrative whatsoever for this ultimate journey home.  ***   @Amazon.com: CD or Download